《皇極經世書》

This Huangji Jingshi Shu (Book of Supreme World Order) is the work of Northern Song dynasty Neo-Confucian scholar Shao Yong (style name Kangjie), containing a unique cosmological vision and system of symbolic numerology. Inheriting the tradition of pre-heavenly Yijing studies, Shao Yong innovatively correlated the eight trigrams (Bagua) with eight natural phenomena—sun, moon, stars, planets, water, fire, earth, and stone—forming his distinctive theoretical framework.

Shao Yong's philosophy extends celestial patterns to natural phenomena: the alternation of seasons and day-night cycles, transformations of wind-rain-thunder-lightning, the growth and withdrawal of all creatures, even the spiritual components (Shen and hun-po) and physical constituents (blood, Qi, bones, flesh) of the human body all correspond to this system. He viewed "origination, prosperity, advantage, and perseverance" (yuan-heng-li-zhen) as the Dao's operational principles, while "auspiciousness, inauspiciousness, regret, and difficulty" reflected human affairs. His historical perspective employed "epochs-cycles-revolutions-generations" (yuan-hui-yun-shi) as cosmic temporal units and categorized political evolution through "sage emperors-just kings-virtuous rulers-hegemons."

The text notably includes the "Jingshi Sound Charts," classifying phonetics into "standard tones" (level, rising, departing, entering) and "standard articulations" (open, initiating, closing, obstructed), correlating them with celestial bodies and elemental forces. For instance, the number "one" corresponds to syllables like "duo-ke-ge-she-huo-hua-ru," while "two" matches "liang-liang-xiang" or "guang-guang-kuang." This phonetic-cosmic mapping demonstrates Shao Yong's ambition to construct a grand system unifying heaven and humanity.

It should be noted that Shao Yong's calculations of cosmic cycles like "epochs-cycles-revolutions" transcend conventional historical chronology or astronomical calendars, resembling what Zhuangzi called "affirming without discussing" metaphysical principles. The essence of his philosophy lies not in these specific computations, which later editors often omitted due to their abstruse diagrammatic complexity.

This passage appears to be from the Huangji Jingshi Shu, documenting a phonological system through a unique symbolic arrangement. The original text employs special symbols (such as ○, □, ■) combined with Chinese characters to record an ancient phonetic classification system.

Each line contains two corresponding sets: on the left are combinations of numbers (from three to ten) with specific characters, while on the right are pairings of "sound" (音) or "tone" (声) with another set of characters. This arrangement likely demonstrates certain phonetic correspondences or pronunciation classification rules. For instance, the number "three" (三) corresponds to characters like "安," "亚," "乙," and "一" under the "sound" category, while under the "tone" category, it corresponds to characters like "臣," "引," and "艮."

These special symbols may represent:

○ A position with a specific pronunciation not explicitly marked by a character

□ and ■ possibly indicating empty positions or specific phonetic categories

Each group of characters likely represents words sharing the same rhyme or initial consonant

The numbers may correspond to hierarchical levels within the phonetic classification

This organizational method reflects the systematic attempts in Song Dynasty phonology to construct a comprehensive framework for speech sounds through numerical and textual correspondences. Given that the original text uses numerous specialized symbols and abbreviated notations, a thorough understanding of ancient Chinese phonology is required to fully grasp its specific meanings.

This passage originates from the Daoist classic Huangji Jingshi Shu, presenting a mathematical framework of ancient phonology. The original text constructs a theoretical model correlating celestial and terrestrial sounds through special symbols and numbers, which we here explain in modern terms:

Between heaven and earth exists a specific numerical correspondence: heaven's foundational number is 40, while earth's base number is 48. When celestial numbers (representing sun, moon, stars) interact, they produce 160 permutations; terrestrial numbers (representing water, fire, earth, stone) generate 192 permutations. Subtracting earth's base 48 from heaven's 160 yields 112, termed "heaven's functional sounds"; subtracting heaven's base 40 from earth's 192 gives 152, called "earth's functional tones."

Sounds divide into four categories: the sun, moon, and stars represent "vocal sounds" (sheng), while water, fire, earth, and stone represent "articulated tones" (yin). Sounds manifest as clear or turbid, while tones distinguish between open and closed forms. Odd numbers produce clear sounds with open tones; even numbers create turbid sounds with closed tones. Sounds correspond to musical pitch pipes (lü), while tones match the complementary pitch standards (lü), forming an integrated system.

In practical application: heaven's 112 sound variations correspond to the four classical Chinese tones (level, rising, departing, entering), while earth's 152 tone variations align with four articulation methods (initiation, expansion, contraction, closure) from traditional phonology. Scholar Zhu Jing further explains: by excluding 48 unused positions to retain 112 sounds, one encompasses the eight tonal transitions of the Tangyun system; excluding 40 positions to preserve 152 tones corresponds to the five speech organ classifications (lips, tongue, teeth, palate, throat).

The text concludes with specific rhyme category correspondences: for instance, "duo-he" matches the ge-ma rhymes, "kai-hui" aligns with jia-hui rhymes—classifications from Tang-Song dynasty phonological systems. This theory attempts to explain cosmic transformations through numbers and acoustics, proposing that when sound variations reach their ultimate state (the realm of soundless-toneless perfection), the most complete cosmic condition is achieved.

This passage discusses the classification system of ancient Chinese phonology, primarily analyzing the division methods of initials (the initial consonant sounds) and rhyme categories (the rhyming endings of characters).

Regarding the initials, it lists twenty-four basic sound groups, each illustrated with four representative characters. For example, the phrase "古口四音见母也" indicates that characters like "古" and "口" belong to the "见" initial group (an ancient phonetic classification). By distinguishing between voiceless and voiced sounds (whether vocal cords vibrate during pronunciation), this system was ultimately expanded into forty-eight initial categories.

In terms of rhyme categories, it mentions that the Tang dynasty's Guangyun classified fifty-seven rhyme groups, which could be consolidated into thirty categories. The Huangji Jingshi system, however, used seven tones as its foundation, further dividing them into fourteen and then twenty-eight categories. Differences in pronunciation across eras and regions led to varied approaches in rhyme classification.

The text particularly compares two classification methods: traditional rhyme tables (dengyun studies) only selected level-tone characters as representatives, resulting in thirty-six initials, while Huangji Jingshi considered all four tones (level, rising, departing, and entering), thus expanding to forty-eight. The author suggests this is merely a minor methodological difference, with both systems being fundamentally consistent.

Finally, it notes that this phonological system originally had only twenty-four basic initials, which were expanded to forty-eight through the distinction of voiceless and voiced sounds. This is likened to a table with twenty-four cells that doubles to forty-eight rows when adding voicing distinctions. Such classification methods prove particularly valuable for studying poetic meter and prosody (yuefu).

This passage discusses the classification methods of ancient Chinese phonology. The author divides Chinese rhymes into six major categories:

The first category includes rhyme groups like Zhi, Wei, Qi, Yu, Yu, Ge, and Ma, all ending with the original throat sounds of their characters, considered the most primal sounds between heaven and earth. The second category comprises Jia and Hui rhymes, sharing the same ending sounds as Zhi, Wei, and Qi rhymes. The third group includes Xiao, Yao, Hao, and You rhymes, sharing the same endings as Yu and Yu rhymes. The fourth category encompasses Dong, Dong, Jiang, Yang, Geng, Qing, and Zheng rhymes ending in nasal sounds. The fifth group consists of Zhen, Wen, Yuan, Han, Shan, and Xian rhymes ending in tongue and teeth sounds. The sixth category includes Qin, Tan, Yan, and Xian rhymes ending in labial sounds.

The author notes this classification aligns with contemporary dictionaries, though musicians might not yet recognize that the latter five categories all derive from the first. While most rhyme classifications are complete, some exceptions exist: for instance, "禾" (hé) being grouped with "开回" (kāi huí), or "宫龙" (gōng lóng) classified with "鱼乌" (yú wū)—these phonetic groupings remain debatable.

The passage then details various articulation points: Nasal sounds include Jian, Xi, Qun, and Yi; tongue sounds comprise Duan, Tou, Ding, Ni, Zhi, Che, Cheng, Niang, and Lai initials; teeth sounds include Jing, Qing, Cong, Xin, Xie, Zhao, Chuan, Chuang, Shen, Shan, and Ri initials; labial sounds involve Fei, Fu, Feng, Wei, Bang, Pang, Bing, and Ming initials; throat sounds consist of Ying, Yu, Xiao, and Xia initials. Most classifications are reasonable, but grouping "黑黄" (hēi huáng) with "五吾" (wǔ wú) or "安口" (ān kǒu) with "母目" (mǔ mù) raises questions.

Particularly mentioned are Zhi, Che, Cheng, and Niang initials, originally belonging to tongue sounds but later evolving into dental sounds—only Fujian and Guangdong regions preserve their original tongue pronunciations. The author speculates these sounds might have already changed by Shao Yong's (Shaozi) era.

Finally, 24 initial consonants are listed: Jian, Xi, Yi, Duan, Tou, Ni, Zhi, Che, Niang, Jing, Qing, Xin, Zhao, Chuan, Shen, Fei, Wei, Bang, Pang, Ming, Ying, Xiao, Lai, and Ri. Other initials are essentially voiced/voiceless variants of these basic consonants—for example, Qun initial being the voiceless form of Jian initial—totaling 36 initials in the complete system. However, this 24-initial system excludes "Niang" initial, replacing it with "Ri" initial as the representative of light dental sounds.

The Huangji Jingshi Shu primarily discusses theories concerning sound and cosmogony. Regarding phonetics, the author notes that the character "敷" should stand as an independent sound, forming a pair with "滂," thus making twenty-five initial consonants in the phonetic system. However, Shao Yong (Master Shao) lists only twenty-four in his framework, possibly omitting this rarely used sound. Shao categorized sounds into four types—opening, spreading, closing, and contracting—analogous to the traditional four divisions of rhyme tables (open mouth, even teeth, closed mouth, and rounded lips), though the classifications do not perfectly align.

Shao Yong posited that all things possess sound, color, Qi (vital energy), and flavor. Among these, color is difficult to depict, and flavor is challenging to transcribe, but sound can be articulated by the human mouth and recorded through the fanqie (reverse-cut) method. Thus, he devised sound charts to investigate transformations in other attributes and deduce the quantities of plants and animals. Though this theory may appear speculative, standardizing pronunciation is essential for governance, and scholars should understand it. Among works on phonology, aside from traditional rhyme tables, Shao Yong's system is the most methodical.

The Guanwu Neipian expounds on cosmogony: Heaven and Earth are the greatest existences. The essence of Heaven is constituted by Yin-Yang, while the essence of Earth is formed by hardness and softness. Heaven arises from movement, Earth from stillness, and the interplay of movement and stillness exhausts the principles of Heaven and Earth. At the inception of movement, Yang Qi (Yang energy) is generated; at its climax, Yin Qi (Yin energy) emerges—the alternation of Yin and Yang constitutes the Dao of Heaven. At the inception of stillness, soft Qi arises; at its extreme, hard Qi manifests—the alternation of hardness and softness constitutes the Dao of Earth.

The greatest movement is called Great Yang (e.g., the sun), the next is Lesser Yang (e.g., stars); the greatest stillness is called Great Yin (e.g., the moon), the next is Lesser Yin (e.g., celestial bodies). The alternation of the sun, moon, stars, and celestial bodies reveals the substance of Heaven. The softest is water, the hardest is fire, the next soft is earth, and the next hard is stone. The alternation of water, fire, earth, and stone reveals the substance of Earth.

Shao Bowen explained: The undifferentiated whole is called Taiji (Supreme Ultimate). When Taiji divides, the first two forms are called Liangyi (the Two Modes: Yin and Yang). The further division of Liangyi produces the Sixiang (Four Symbols: Great Yang, Lesser Yang, Great Yin, Lesser Yin), and the continued differentiation of Sixiang gives rise to the myriad things. This is Shao Yong’s elaboration on the Yijing’s concept that "the Changes have Taiji."

This scripture elucidates the generative principles of heaven, earth, and all phenomena. The cosmos is first divided into eight fundamental elements: Great Yang (extreme yang), Lesser Yang, Great Yin (extreme yin), Lesser Yin, Great Firmness (extreme firmness), Lesser Firmness, Great Softness (extreme softness), and Lesser Softness. These eight elements combine to form the Bagua (Eight Trigrams). Among them, Great Yang, Lesser Yang, Great Yin, and Lesser Yin manifest in the heavens as the sun, moon, stars, and celestial markers (chen), while Great Firmness, Lesser Firmness, Great Softness, and Lesser Softness appear on earth as fire, water, soil, and stone. With these eight elements complete, the fundamental structure of heaven and earth is perfected.

The text particularly emphasizes that these eight elements originate from four fundamental correspondences: the sun in heaven corresponds to fire on earth (as evidenced by using yang-sui mirrors to kindle flames), the moon in heaven corresponds to water on earth (demonstrated by using fang-zhu vessels to collect dew), the stars in heaven correspond to stone on earth (seen when falling stars become meteorites), and the celestial markers (chen) in heaven correspond to soil on earth (as chen encompasses all celestial space beyond the sun, moon, and stars, while soil represents all substantial matter beyond fire, water, and stone). The relationship between heaven and earth resembles that between form and shadow, or sound and echo—mutually resonating phenomena.

The author employs the human body as a metaphor: the sun, moon, stars, and celestial markers are like a person's eyes, ears, mouth, and nose, while fire, water, soil, and stone resemble human blood, qi (vital energy), bones, and flesh—these constitute the "substance" (ti) of heaven and earth. Yin-yang and firmness-softness function like human shen (spirit) and jing (essence), governing the operation of these organs and tissues—this represents the "function" (yong) of heaven and earth.

Finally, the text discusses the Taiji (Supreme Ultimate)—the cosmic origin—transcending temporal concepts: it exists before heaven and earth yet does not precede them; it remains after heaven and earth yet does not follow them. The Taiji is perfectly unified with all phenomena, without distinctions of sequence or duration. The Taiji inherently contains the complete potentiality of the two polarities (yin-yang), four manifestations, Bagua, and indeed all existence—not as sequential generation from the Taiji, but as simultaneous completeness. Just as form necessarily casts shadow, or the number one implies two, three, and infinity, all exist as an instantaneous whole.

The Taiji (Supreme Ultimate) existed as an undifferentiated whole before the formation of all things, and has never diminished since their emergence. From ancient times to the present, the Taiji has always existed. All beings receive their life (ming) from it, take it as their fundamental nature (xing), are governed by it as heaven (tian), and are created through its generative heart (xin). Though these names differ, their essence is one. The ancient sages comprehended celestial destiny by investigating principles and exhausting inherent nature, recognized heavenly Dao through awakening to the original heart, and served heaven by preserving heart-mind cultivation—all based on this fundamental principle.

Someone might ask: Why replace the Five Phases (Wood, Fire, Earth, Metal, Water) with "water, fire, earth, and stone"? This is because the sun, moon, stars and constellations represent the four celestial manifestations (sixiang), while water, fire, earth and stone constitute the four fundamental forms (siti) of the earth. The Five Phases belong to the conditioned world of later heaven, whereas the four manifestations and four forms belong to the innate realm of prior heaven. Water, fire, earth and stone are the substance, while the Five Phases are their functional expressions. Metal is extracted from stone, and wood grows from soil—thus the Five Phases are inherently contained within the four fundamental forms, not abandoned but encompassed.

The sun generates heat, the moon brings cold, the stars govern daylight, and the constellations (chenxiu) rule the night. The alternation of cold and heat, day and night exhausts all celestial transformations. Water transforms into rain, fire into wind, earth into dew, and stone into thunder. The interplay of rain, wind, dew and thunder completes the transformative operations of earthly Qi.

Heat alters the inherent nature of beings, cold modifies their emotional states, daylight changes their external forms, and night transforms their physical constitutions. The interaction of nature (xing), disposition (qing), form (xing) and substance (ti) exhausts all living creatures' perceptions of the external world. Rain affects walking beasts, wind influences flying birds, dew impacts grasses, and thunder shapes trees. The mutual responsiveness between beasts, birds, grasses and trees completes the reactive mechanisms of the biological realm.

Humans can perceive changes in cold and heat, day and night while simultaneously sensing transformations of rain, wind, dew and thunder. We discern the nature, disposition, form and substance of all things while responding to variations among birds, beasts and vegetation. Thus our eyes distinguish colors, ears differentiate sounds, noses identify scents, and mouths discern flavors. That humans possess greater spiritual clarity (lingming) than other creatures is profoundly reasonable. Our transcendence over all beings stems precisely from our senses' comprehensive capacity to receive the world's manifold information.

The nose perceives the qi (vital energy) of all things, while the mouth discerns their flavors. Sounds, colors, aromas, and tastes are all concrete manifestations of existence, whereas ears, eyes, nose, and mouth serve as humanity's instruments for perceiving the myriad phenomena.

From this we understand that humans are the most refined beings among all things, while sages represent the pinnacle of human perfection. What we call "the essence among things" refers to the most subtle of substances, and "the perfected among humans" denotes the most complete individuals. When the most refined being corresponds with the most perfected person, what else could such a person be but a sage?

The sage's sageliness manifests in their ability to comprehend countless minds through a single heart, observe myriad actions through one body, understand universal principles through individual objects, and deduce the rise and fall of ages through a single era. They employ their heart-mind to embody celestial intent, their speech to convey the Dao of Heaven, their hands to accomplish celestial craftsmanship, and their physical form to fulfill heavenly duties. They comprehend celestial patterns above, grasp terrestrial principles below, and penetrate the nature of all things between heaven and earth, discerning every facet of human affairs. They oversee the operations of the cosmos, participate in creation's mysteries, traverse temporal transformations, and perceive the inner and outer dimensions of all beings.

Though we cannot behold the ancient sages directly, by contemplating their thoughts, studying their deeds, examining their words and actions, and pondering their accomplishments, we may understand them across millennia through universal principles. The Yijing (Book of Changes) states: "Exhausting principle to fully manifest nature, ultimately reaching destiny." Here, "principle" signifies the patterns of all things, "nature" denotes innate essence, and "destiny" represents the state of mastering both principle and nature. What else could attain this state but the Dao itself?

Thus we say the Dao is the foundation of heaven and earth, while heaven and earth form the basis of all things. Viewed from the cosmic perspective, all phenomena appear ordinary, yet from the Dao's vantage point, even heaven and earth become mere manifestations. The Dao's truth is completely embodied in heaven, heaven's patterns fully manifest in earth, and cosmic laws completely unfold within all things—yet the ultimate mystery of creation ultimately resides in humanity. Only when humans realize that the Dao of heaven, earth, and all things converges within themselves can they fully understand the people. When heaven perfectly manifests the principles of all things, we call it "Haotian" (the Supreme Heaven); when humans completely comprehend the people, we call them "sages."

Haotian governs all things and sages educate all people through four essential aspects. The four keys to Haotian's governance are the cyclical transformations of spring, summer, autumn, and winter.

This passage from the Huangji Jingshi Shu discusses the relationship between cosmic patterns and the Way of the Sages:

Nature follows the cyclical pattern of four seasons: spring for germination, summer for growth, autumn for harvest, and winter for storage. These seasons function like heaven's four "treasuries." Though the myriad things vary endlessly, none escape this seasonal rhythm.

Similarly, the Sages established four textual "treasuries": the Book of Changes (Yijing) teaches survival wisdom, the Book of Documents (Shangshu) records governance methods, the Book of Songs (Shijing) collects folk sentiments, and the Spring and Autumn Annals chronicles historical lessons. Though people are numerous, all receive instruction through these classics. Heaven influences humanity through seasonal patterns, while Sages emulate this cosmic order through canonical texts.

When Confucius compiled these classics, he traced the Book of Changes back to Fuxi and the Yellow Emperor, edited the Book of Documents beginning with Yao and Shun, refined the Book of Songs from the Zhou dynasty founders, and compiled the Spring and Autumn Annals starting with the Hegemons. This arrangement honors the Three Sovereigns and Five Emperors while continuing the legacy of sage-kings.

Some lament Confucius lacked territorial fiefdoms, but consider this: commoners measure wealth in acres, ministers in counties, lords in regions, and emperors in nine provinces—yet Confucius established his foundation for millennia. Thus Mencius declared, "Since humanity began, none has surpassed Confucius"—no exaggeration.

When society trends toward order, people value concrete action; when drifting toward chaos, empty rhetoric prevails. Practical action fosters integrity, while hollow talk breeds hypocrisy. Ordered societies prize righteousness (Yi), chaotic ones chase profit. Righteousness cultivates humility; profit-seeking sparks contention.

The Three Sage-Kings (Yu, Tang, Wen) emphasized action; the Five Hegemons indulged rhetoric. Action naturally aligns with righteousness, rhetoric inevitably slides toward profit. The gulf between righteousness and profit is precisely this vast.

Therefore: empty words pale before concrete deeds, and deeds themselves fall short of sincere intention. Speech can deceive, actions can feign—only the genuinely uncontrived heart is truly precious.

The Huangji Jingshi Shu passage conveys two main layers of meaning:

The first part discusses the cultivation of mind and nature: While others can hear a person's words and see their actions, only the divine Shen (spirit) can perceive the thoughts originating from one's heart. If human intelligence cannot be deceived, how much less can the divine Shen? Therefore, maintaining faultless speech is easier than blameless conduct, and blameless conduct is easier than purging all wicked thoughts from the heart. To achieve absolute purity of mind without evil thoughts—what difficulty would remain? Yet sadly, few can be found whose minds are truly free of distractions to engage in such discourse. The reason sages remain invincible lies precisely in their mastery of cultivating heart-mind.

The second part explains the operational laws of heaven, earth, and all things: The transformations of sun, moon, and stars create the four seasons' cold-heat cycles and day-night alternation, while the transmutations of water, fire, earth, and stone generate natural phenomena like wind, rain, dew, and thunder. These natural changes further influence the nature and forms of all beings. For instance, summer heat alters the characteristics of birds, beasts, and plants, while winter cold modifies their emotional expressions; daylight affects their physical forms, and nighttime influences their constitutional qualities. Rain, dew, wind, and clouds respectively correspond to the evolutionary patterns of different life forms—quadrupeds, birds, and vegetation.

The text clarifies that all things derive their essential nature from Heaven (divided into Yin-Yang) and their concrete forms from Earth (divided into soft-hard). Among them, humans alone embody the combined characteristics of heaven, earth, and all things, representing their quintessential essence.

Finally, the Supplementary Observations chapter adds: Heavenly numbers comprise five, earthly numbers comprise five, combining to form the complete numerical principle of ten. The operational laws of heaven and earth all manifest the characteristic of "four substances with three functions" (among four existing forms, three activate while one remains latent)—this represents the ultimate expression of the transformation between being and non-being.

(Note: Zhang Min's commentary explains that Observations consists of inner and outer chapters—the inner chapters being Shao Yong's original work while the outer chapters record his disciples' discussions. The inner chapters present profound theories with concise numerology, whereas the outer chapters provide detailed numerology with clearer principles, recommending that students of innate learning begin with the outer chapters.)

This passage from the Huangji Jingshi Shu primarily discusses the mathematical principles governing Heaven-Earth and Yin-Yang interactions. Zhang Kun explains: The Taiji (Supreme Ultimate, cosmic origin) generates Four Symbols (four fundamental states). Heaven's Four Symbols are Great Yang (Taiyang), Great Yin (Taiyin), Lesser Yang (Shaoyang), and Lesser Yin (Shaoyin), while Earth's Four Symbols are Great Hardness (Taigang), Great Softness (Tairou), Lesser Hardness (Shaogang), and Lesser Softness (Shaorou). Though Heaven has four forms, only three are practically used (excluding Taiyin); similarly, Earth's four forms also employ three (excluding Taigang).

Ten represents the total number encompassing Taiji within Heaven-Earth, eight signifies the sum of their fundamental forms and interactions, while six denotes the practical number after removing interactive elements.

Heavenly phenomena manifest in the south while remaining concealed in the north, expressed through six numbers with seven as remainder—hence humans perceive what lies ahead but struggle to know what follows. Celestial patterns begin with the Qian trigram and conclude at Zhen, with the rest remaining hidden. Earthly configurations omit one number to utilize twelve, akin to how terrestrial fire remains perpetually concealed. Thus Heaven, rooted in its essence, often hides its foundation, while Earth, function-oriented, typically conceals its operations.

Yang lines represent daylight numbers, Yin lines signify nighttime counts. Heaven and Earth interlock as Yin and Yang intertwine, creating the alternation of day and night, the interplay of hardness and softness. Spring and summer belong to Yang, featuring long days and short nights; autumn and winter pertain to Yin, with short days and long nights.

Circular forms correspond to stars, marking the origin of calendrical calculations; square shapes align with land, inspiring the division of provinces. Circular numbers derive from the River Chart (Hetu), square numbers originate from the Luo Writing (Luoshu)—thus Fuxi and King Wen created the Yijing based on these, while Yu the Great and Jizi composed the Hongfan accordingly.

The Yijing employs fifty yarrow stalks for divination (the Great Expansion Number), reflecting the cosmic patterns sages followed: Heaven's numbers sum to twenty-five (totaling fifty when doubled), Earth's to thirty (totaling sixty). Fifty represents the total stalks (though forty-nine are used with one reserved), while sixty serves as the trigram's numerical foundation. The Eight Primary Trigrams are preliminary achievements; only the sixty-four hexagrams constitute complete mastery. Circular yarrow stalks emulate Heaven's numbers (7×7=49), square hexagrams model Earth's count (8×8=64)—all these calculations stem from revelations in the Hetu and Luoshu.

This passage discusses the theories of trigram derivation and cosmic generation from the Huangji Jingshi Shu. The core content explains how mathematical calculations are used to deduce changes in trigrams and the process by which Yin-Yang interactions give rise to all phenomena.

First, it explains the relationship between the divination stalks (yarrow stalks used in ancient divination) and trigrams: the stalks represent the numbers of change (functional numbers), while the trigrams represent the numbers of substance (substantial numbers). In calculations, "one" is preserved as the foundation while "four" is removed as the root. The circle symbolizes "one," and the square symbolizes "four," hence the stalks retain "one" while the trigrams discard "four."

Next, it details the calculation methods for various numerical combinations. For example, combining "five and four-four" and removing the "hanging one" yields four times three, totaling twelve; combining "nine and eight-eight" and removing the "hanging one" results in four times six, totaling twenty-four, and so on. By removing the numbers three, four, five, and six, the final results form four types of stalk numbers (divination outcomes): nine, eight, seven, and six.

The text then describes the process of cosmic generation: the Taiji (Supreme Ultimate) divides into the two modes of Yin and Yang, and their interaction produces the four images. When Yang interacts with Yin and Yin interacts with Yang, the four images of heaven emerge; when the hard interacts with the soft and the soft interacts with the hard, the four images of earth emerge, thus forming the eight trigrams. The mutual interweaving of the eight trigrams gives rise to all things. This process resembles the growth of a tree—from one to two, two to four, four to eight—continuously branching and becoming increasingly complex.

Finally, it explains the Yin-Yang attributes of each trigram in detail: Zhen (thunder) and Xun (wind) represent the first interaction of Yin and Yang; Dui (lake), Li (fire), Kan (water), and Gen (mountain) represent the second interaction. Zhen has less Yang and more Yin, while Xun has less Yin and more Yang. Dui and Li show increasing Yang, while Kan and Gen show increasing Yin. Zhen begins interacting with Yin as Yang emerges, while Xun begins dissipating Yang as Yin emerges. Dui signifies the growth of Yang, and Gen the growth of Yin. Zhen and Dui belong to the Yin aspect of heaven, while Xun and Gen belong to the Yin aspect of earth. Thus, Zhen and Dui have Yin above and Yang below, while Xun and Gen have Yang above and Yin below.

At the beginning of the universe, yang qi rose and yin qi descended, establishing an ordered hierarchy. Qian, Heaven, and Kun, Earth, took their positions above and below; Li, fire, and Kan, water, were arranged to the left and right. The opening and closing of Heaven and Earth, the rising and setting of sun and moon, the succession of the four seasons, the moon's changing phases, variations in the length of day and night, and the different speeds of celestial bodies are all determined by this order of yin and yang.

Before the universe took form, in the state of Wuji, yin qi contained yang qi. After things acquired form, yang qi began to differentiate into yin qi. Yin is the mother of yang, and yang is the father of yin. This resembles a mother bearing the eldest son, represented by Fu, the hexagram of yang's first emergence, and a father begetting the eldest daughter, represented by Gou, the hexagram of yin's first appearance. Thus yang qi begins with Fu, and yin qi with Gou.

Yang qi cannot exist alone; it requires yin qi to become established, so yin is its foundation. Yin qi cannot manifest by itself; it must await yang qi, so yang is its guiding force. Yang knows how to initiate things and enjoys the results, while yin follows its principles and undertakes the labor.

Yang can know and manifest, while yin cannot. What can know and manifest belongs to the category of you, presence, so yang has the quality of you and yin the quality of wu, absence. Yang cannot reach everywhere, whereas yin is everywhere; yang passes away, while yin remains. What is everywhere and enduring is substantial. Thus yang is essentially xu, insubstantial, and yin is essentially shi, substantial.

Every change brings a corresponding response. Internal change appears externally, and external change affects the interior; change below affects what is above, and change above affects what is below. Changes in celestial patterns appear in the sun's patterns. Change therefore follows Heaven's principles, while response follows the sun's rules. The sun records the stars' movements, the moon meets the hours, water arises from earth, fire lies hidden in stone, birds rest in trees, animals depend on grasses, the heart and lungs are connected, and the liver and gallbladder are linked. All express the principles of change and response.

Land creatures have counterparts in water, like a form and its shadow. On land there are more walking animals; in water, more “flying” fish, meaning swimming fish. These relationships cross over: what is large on land is small in water, and what is large in water is small on land. Note: In water, “flying” refers to fish and “walking” to crustaceans. On land, males are larger and females smaller; in water, females are larger and males smaller.

Birds feed on trees, walking animals on grasses, and humans can eat both plants and animals. Humans are therefore the most honored of all beings.

The Huangji Jingshi Shu primarily elucidates the correspondences between heaven, earth, and humanity, as well as the patterns of Yin-Yang transformation.

The knuckles of human fingers can be used to observe celestial phenomena, while palm lines reflect geographical patterns. The thumb corresponds to Earth (one of the Five Phases), and the twelve joints of the remaining four fingers align with the four seasons and twelve months: the index finger represents spring, the middle finger summer, the ring finger autumn, and the little finger winter. The varying lengths of fingers also mirror seasonal characteristics—longer in summer, shorter in winter, and balanced in spring and autumn. The topography of palm lines, with higher rear and lower front sections, directly corresponds to the contours of the earth's landscape.

Within the human body, the Shen (spirit) is governed by the heart, Qi (vital energy) is regulated by the kidneys, and physical form is anchored in the head. When form and Qi interact, the Shen resides within as the guiding force, reflecting the tripartite principle of heaven, earth, and humanity.

Celestial eclipses demonstrate the mutual conquest of water and fire (among the Five Phases): solar eclipses occur when the moon obscures the sun, while lunar eclipses happen when the moon enters Earth's shadow. This parallels how a noble person employs wisdom (like fire indirectly overcoming water through separation), whereas petty individuals rely on brute force (like water directly extinguishing fire).

The motion of celestial bodies manifests Yin-Yang alternation: the sun rotates with the heavens, the moon orbits the sun, and stars appear following the moon's phases. Heaven displays diurnal cycles—the sun dominates daylight, the moon governs night, and stars flicker intermittently—all revealing the principles of Yin-Yang transformation and hierarchical distinctions (noble and base).

Every intention finds expression through speech; speech generates form, and form establishes patterns. This resembles the relationship between fishing tools (traps and snares) and their prey: one may acknowledge the tools' necessity after catching fish or rabbits, but abandoning the tools to seek prey directly proves futile.

Heavenly Dao's transformations influence human affairs, manifesting as the Yijing (Book of Changes) principles of "origination, prosperity, advantage, and perseverance" (yuan heng li zhen). Human actions likewise resonate with the celestial Dao, appearing as hexagram responses of "auspiciousness, misfortune, regret, and difficulty." Here, yuan heng signifies transformation, while li zhen constitutes the response; auspiciousness/misfortune represents resonance, and regret/difficulty emerges as the consequence of change.

This passage elucidates the patterns of cosmic Yin-Yang transformation and corresponding human conduct. The core philosophy reveals that change contains correspondence, while correspondence embodies transformation—this constitutes the natural law of heaven and earth's operation.

When encountering "lin" (adversity), transformation inevitably occurs. Proper transformation leads to "ji" (auspiciousness), which naturally yields benefit; improper transformation results in "heng" (excess), inviting misfortune, whereupon "zhen" (adhering to the upright path) becomes necessary. Repentance brings auspiciousness, while stinginess sows the seeds of calamity. Thus, the wise align with celestial principles rather than human whims.

Qian and Kun represent heaven and earth's foundation, while Li and Kan symbolize their functional manifestations. The changes in the Yijing (Book of Changes) originate from Qian and Kun, progress through Li and Kan, and culminate in the states of Jiji and Weiji. The Kun trigram governs the three feminine trigrams (Xun, Li, Dui) in the southwest, while Qian commands the three masculine trigrams (Zhen, Kan, Gen) in the northeast.

Heaven and earth's Yin-Yang distribution follows precise patterns: heaven's Yang energy resides in the south and Yin in the north; earth's Yin concentrates in the south and Yang in the north; human Yang ascends upward while Yin descends downward. During Yin-Yang interaction, Yang descends as Yin rises. In hexagram line relationships, though both the first and top lines occupy extreme positions, the top line's excessive elevation proves inferior to the first line's initiative; though the second and fifth lines both occupy central positions, the second line's Yin softness cannot match the fifth line's Yang strength; while the third and fourth lines both belong to the human realm, the third line at the lower trigram's peak falls short of the fourth line's proximity to the sovereign position.

Human spirit mirrors celestial phenomena: heaven's divine spirits dwell within the sun, while human spirit manifests through the eyes. When awake, the heart-mind resides in the heart; during sleep, it withdraws to the kidneys—this mirrors heaven's diurnal-nocturnal rhythm.

All phenomena derive from four fundamental elements (water, fire, earth, stone) with distinct variations. Clouds exhibit different forms: water-clouds appear black, fire-clouds crimson, earth-clouds yellow, and stone-clouds white. Thunder likewise manifests four types: water-thunder appears obscure, fire-thunder violent, earth-thunder continuous, and stone-thunder abrupt. This demonstrates all things contain the four manifestations' transformations.

Among the Five Phases, Wood represents growth, while Metal emerges from stone. Water, fire, earth, and stone constitute fundamental elements, with metal and wood arising between them. Qi nourishes innate nature, while nature governs qi—the two mutually depend and influence each other.

In action, one must recognize the principle of timely cessation—when seventy percent completion is reached, desist. Just as the summer solstice's daylight never exceeds sixty ke (ancient time units), with twilight barely reaching seventy percent. This "seventy-percent principle" forms a crucial measure for conduct.

This passage mainly explains the relationship between the workings of Heaven, Earth, and all things and changes in the wuxing: metal, wood, water, fire, and earth. The east corresponds to wood and should be green; the south to fire and red; the west to metal and white; the north to water and black; and the center to earth and yellow. These are the basic color correspondences. Yet observation of the sky at dawn, noon, dusk, and night shows red in the east, white in the south, yellow in the west, and black in the north. This shifting of colors is caused by the movement of yang qi.

Similarly, a person's rosy infant complexion gradually becomes pale, turns yellow in illness, and becomes blue-black with old age and death. Plants begin reddish, become green and white as they grow, turn yellow as they wither, and black when dry. These all express changes in yang qi. The wuxing cycle begins with water's black, passes through fire's red, wood's green, and metal's white, and finally reaches earth's yellow before returning to water's black, endlessly repeating.

Heaven, Earth, and all things follow the fundamental principle of yi, the One, governed by Qian, the hexagram representing Heaven. Spirit is also unified. It changes with the breath and moves between life and death, presence and absence. It is everywhere yet difficult to grasp. Without understanding Qian's mystery, one cannot understand life's true meaning.

Those truly worthy of being called human are benevolent people whose virtue matches Heaven and Earth. Breath is the dwelling of spirit, and the body carries the breath. The moon is a projection of the sun; emotions reflect one's nature. The heart is Taiji, the source of the universe, and the Dao is also Taiji.

Living things harmonize with their surroundings. Animals among grasses have fur like grass stems; woodland birds have feathers like leaves; aquatic creatures have scales patterned like ripples; creatures among stones have shells resembling stone grain. Trees produce fruit and seeds. The new tree is not the original tree, yet continues the same essential life. This is the principle of life's endless renewal.

Joy, anger, sorrow, and delight in response to external things are normal human emotions, but they require restraint. Self-indulgence allows emotion to cloud the mind; following nature preserves spiritual sensitivity and clarity. True divine spirits connect Heaven and Earth, transcend time and space, and are not bound by yin and yang. They reach a state of complete freedom.

The Huangji Jingshi Shu explores the relationship between human mental activity and natural laws, as well as the principles of self-cultivation.

Regarding the connection between sleep and the five organs: When one is about to fall asleep, the Shen (spirit) primarily gathers in the spleen (corresponding to autumn); during deep sleep, it resides in the kidneys (corresponding to winter); upon nearing wakefulness, it shifts to the liver (corresponding to spring); and when fully awake, it settles in the heart (corresponding to summer). This mirrors the cyclical regularity of the four seasons.

The proportion of Yin-Yang interaction between heaven and earth is three-tenths, just as at the summer solstice when Yang energy reaches seven parts, the remaining three parts represent the dynamic interplay of Yin and Yang.

Concerning thoughts of good and evil: The moment they arise in the mind—even before manifesting in speech or action—they are already known by the spirits. Thus, the noble person must be especially vigilant about mental activity during solitude. The human mind is the Shen of heaven and earth (referring to natural laws); to deceive oneself is to deceive the cosmos.

Only by maintaining single-minded focus can one adapt to myriad changes. The classics left by sages operate like the Dao of heaven—leaving no trace, just as the Spring and Autumn Annals records historical facts while good and evil naturally reveal themselves within.

Regarding cultivation: Silent Wuwei (non-action) represents a return to the original state (symbolized by the quiescence of the Kun trigram), while responsive awareness manifests the stirring of Yang energy (symbolized by the vitality of the Fu trigram). To exhaustively investigate principles is to understand one's nature; to fully realize one's nature is to comprehend heavenly mandate.

On the mentality toward gain and loss: If one regards loss as more significant than gain, there will be no excessive joy upon obtaining; if one prioritizes gain, facing loss becomes unbearable. One must first nurture inner De (virtue)—whether serving as high official or commoner, pursuing great learning or ordinary matters, equanimity can be maintained.

With sufficient inner cultivation, external gains and losses appear trivial; without it, excessive pursuit of fame and fortune arises. While scholars are numerous in the world, few grasp the true essence of study. Those who experience the supreme joy of heavenly principle find no book incomprehensible, no problem insurmountable.

As heaven, earth, sun, and moon move eternally, humans should adopt long-term vision. Clever strategies may prove temporarily useful but ultimately exhaust themselves, while utmost sincerity endures as ceaselessly as heaven and earth. The cosmos harbors no selfishness—thus achieving permanence; if the human mind emulates this selflessness, it too may attain sublime realms.

The Huangji Jingshi Shu conveys several key layers of meaning:

On the principle of "utmost sincerity": If the movement of heaven and earth never ceases, then the heart of utmost sincerity should likewise never rest. Han Dynasty Confucians regarded "acting contrary to the classics yet conforming to the Dao" as a manifestation of situational adaptability. Such adaptability serves to balance the relative importance of matters—when sages employ it, they weigh priorities to select the most appropriate approach. Rigid adherence to the mean without understanding adaptability ironically leads to deviation. Wang Tong (Sui Dynasty thinker) discussed the situational adaptability of the kingly way in the Spring and Autumn Annals, demonstrating unparalleled insight in this regard. The application of adaptability operates at multiple levels: whether in self-cultivation, governing local communities, or administering the realm, though the forms differ, all fundamentally embody the art of balancing priorities.

On the cyclical nature of order and chaos: After the hexagram Bo (symbolizing decline) comes Fu (renewal); after Gou (encounter) comes Guai (resolution). This illustrates how order and chaos naturally alternate—there is no perpetual decline nor absolute resolution. Preventing problems before they arise constitutes the essence of statecraft and familial continuity. Sages place utmost importance on precautionary measures, a core principle of the Book of Changes.

On the study of innate principles (Shao Yong's "Innate Learning"): The foundation of innate learning lies in the method of the heart. All hexagram diagrams emanate from the center, just as all transformations of phenomena originate from the heart. Those who truly understand the Book of Changes require no textual commentary—though Mencius never directly discussed the Changes, his thought resonates with its principles. Only those who can apply its wisdom as flexibly as Mencius genuinely comprehend the Changes.

On the Spring and Autumn Annals methodology: The Five Hegemons (Duke Huan of Qi and others) were both meritorious ministers and chief offenders. The Spring and Autumn Annals serves as Confucius's "legal code" for historical judgment, yet merits and faults remain distinct. The sage first records achievements, then censures failings. Even wrongdoers' accomplishments are documented, embodying the Dao of forgiveness. The text references differing interpretations by scholars like Yin Shilu and Mu Bochang—some claimed the Annals contained only criticism without praise, but in an era of collapsing rites, even minor virtuous acts deserve recognition. Studying the Spring and Autumn Annals requires first clarifying the Five Hegemons' merits and faults to grasp its overarching direction, without obsessing over minutiae.

Finally, some question whether the Spring and Autumn Annals addresses the study of nature and life (xingming). Yet its detailed accounts—such as sacrificial oxen being injured or substitute divination oxen dying—demonstrate the profound interconnection between heavenly patterns and human affairs.

This passage delves into the profound meaning of the Spring and Autumn Annals and elucidates the principles of scholarly cultivation and self-refinement.

Regarding the Spring and Autumn Annals, the author clarifies that this classic is not Confucius' deliberate work of praise and censure, but rather a natural revelation of heavenly principles through historical records. For instance, the mere documentation of an injured ox reveals the ritual transgressions of the Lu state in sacrificial ceremonies; recording the first use of a six-row dance formation exposes the prior unauthorized use of an eight-row formation. These examples demonstrate how the Spring and Autumn Annals aligns with cosmic order to illuminate inherent truths, particularly emphasizing the maintenance of proper sovereign-subject relationships.

When discussing talent, the author contends that true capability manifests only in significant events. While innate endowment matters, it must be perfected through learning. Figures like Zhou Bo and Huo Guang achieved great deeds despite lacking scholarly cultivation, yet their accomplishments remained incomplete. Without study, one cannot comprehend principles and becomes obstinate and inflexible.

The essence of scholarly cultivation lies in following the upright path, eliminating selfish desires, and maintaining sincerity. The movement of heaven and earth operates through straightforward principles—attempting shortcuts through cunning means constitutes rebellion against cosmic order in favor of human cravings, making success improbable.

All worldly affairs, whether great or small, embody patterns of heavenly principle and human Dao. Self-cultivation is humanity's fundamental duty, while encountering opportunity depends on celestial will. One should maintain equanimity toward gain and loss to accord with cosmic harmony. Reckless risk-taking and forceful grasping violate natural law and inevitably invite calamity.

The concluding discussion on "spiritual forces" (referring to formless cosmic creative power) notes their invisible yet potent function. Like human facial features and limbs, or the blossoms and fruits of plants, all manifest this energy. The arbiter blessing virtue and punishing excess, the possessor of penetrating wisdom and integrity, and the effortless yet swift operation of natural processes—all exemplify the workings of these spiritual forces.

This passage from the Huangji Jingshi Shu elucidates several key concepts:

One who can chart the patterns of heaven and earth is called capable; one whose aspirations are grand and certain to be realized is called resolute; one who embraces all things is called magnanimous. The principles for governing the world were first established by Fuxi, perfected by Emperor Yao, transformed through the Three Sage Kings of Xia, Shang, and Zhou, reached their zenith during the Five Hegemons of the Spring and Autumn period, and were severed by the Qin dynasty. The cyclical patterns of order and chaos throughout history never escape this framework.

Here, two arrangements of the Eight Trigrams (Bagua) are explained: the sequence from Zhen to Gen refers to King Wen’s Later Heaven arrangement, while the passage on "heaven and earth taking their positions" describes Fuxi’s Earlier Heaven arrangement. The interweaving and combination of the trigrams give rise to the sixty-four hexagrams.

Calculating the past is called "following" (顺), like turning left with the flow of time—it pertains to what has already occurred. Foreseeing the future is called "reversing" (逆), like turning right against time—it pertains to what is yet to come. The profundity of the Book of Changes (Yijing) lies precisely in this reverse calculation. This directly explains the meaning of the trigram diagrams, akin to deducing the changes of the four seasons in reverse.

What heaven bestows upon us is called "destiny" (命); its manifestation within us is called "nature" (性); and its expression in all things is called "principle" (理). Buddhism discards human relationships such as ruler-subject, father-son, and husband-wife—how could this align with the natural order?

Yin is the shadow of Yang, and ghosts are the shadows of humans. (Here, the philosophical meaning of shadows is explained through the relationship of Yin-Yang.)

The four prohibitions—"no arbitrary assumptions, no inflexible demands, no obstinacy, no egotism"—form a unified whole when combined, but can be divided into two principles: avoid subjective conjecture and avoid stubborn opinions. Further subdivided, they become four: from the emergence of subjective thoughts to the formation of self-attachment. Where there are assumptions, bias arises, and bias stems from subjectivity; where there is obstinacy, selfhood forms, and selfhood arises from obstinacy. Assumptions originate from the mind, bias from expectations, obstinacy from rigidity, and selfhood from selfishness.

In learning, perseverance is paramount—hence Wang Tong (the Sui dynasty Confucian scholar) said that learning requires lifelong dedication.